Talks & Conversations

Book Talk: Art & Water

Art & Water book, vellum jacket, and poster insert by artist Aline Motta

Water and its transmutations link the contributions in Art & Water, the second volume in the series Art & from the National Gallery’s Center for Advanced Study in the Visual Arts

The series situates the study of art at the intersection of various disciplines—here, they include modernist literature, poetry, film, and both natural and built environments. Essayists use water to address hydrolatry practices in India; ritual objects and practices of enslaved Afro-Surinamers; traces of millstones in the architecture of Seville; and visualizations of sea-level change in the nineteenth-century United States. Their research places art within broader conversations in the humanities considering a water-oriented rather than terrestrial historical framework.

The book is enlivened by first-person narratives that examine deeply embedded meanings of water. Continuing the series’ tradition of exciting book design, an enclosed poster from Brazilian multimedia artist Aline Motta addresses ancestry, memory, and belonging across the Black Atlantic while compellingly conjuring water’s capacity to transform, bring together, and renew. Water as a connective theme offers a fitting lens to advance understandings of how art, as both material object and practice, remains entangled with the natural, supernatural, and scientific—and, like water, remains inseparable from our daily lives.

This event is co-organized with Politics and Prose and will take place at their Connecticut Avenue location in Washington, DC. It is free with first-come, first-served seating. View the event on their website.

Roberto Tejada

Roberto Tejada is an award-winning poet and the author of art histories that include Along the Diagonal: Art / Essays / América (2026), National Camera: Photography and Mexico’s Image Environment (2009) and Celia Alvarez Muñoz (2009), as well as the poetry collections Carbonate of Copper (2025), Why the Assembly Disbanded (2022) and Exposition Park (2010). A Guggenheim Fellowship recipient, Tejada serves as the Hugh Roy and Lillie Cranz Cullen Distinguished Professor at the University of Houston, where he teaches creative writing and art history.

Christina Wiginton

Christina Wiginton is an art book publishing specialist focused on color-critical print production for visually ambitious museum publications and nonfiction books. She has worked extensively in illustrated book development, first at the Smithsonian Institution and now at the National Gallery of Art.

Kaira M. Cabañas

Tejada and Wiginton will be in conversation with Kaira M. Cabañas, associate dean for academic programs and publications at the Center for Advanced Study in the Visual Arts. Cabañas is the award-winning author of several volumes, including Immanent Vitalities: Meaning and Materiality in Modern and Contemporary Art (2021), which received the College Art Association’s Frank Jewett Mather Award. Her previous work, Learning from Madness: Brazilian Modernism and Global Contemporary Art (2018), was recognized as a finalist for the Modernist Studies Association Book Prize.

Publication

Art & Water

Art &, Volume 2

Essays, personal meditations, and images that explore water in all its renewing, destructive, corrosive, and connecting power.

Read more

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Sheer, vertical, cliffs, brightly lit in cream white and rust orange by the low sun, tower over a band of people riding horses into the distance in this long, horizontal landscape painting. The glowing cliffs dominate the upper right quadrant of the painting. They lighten from burnt orange along the jagged tops to flame orange down the steep sides, and are and warm, parchment white near the earth. One tall, narrow promontory to our right looms over a range of lower, rounded cliffs. As the cliffs move into the distance, they are shrouded with a lavender-purple haze. The land closest to us dips into a shallow valley at the bottom center of the composition, leading away from us. The dirt-packed earth is dotted with pine-green, scrubby bushes and vegetation and a grove of low, gnarled trees a short distance to our right. One chestnut-brown horse walks along the path at the bottom center of the composition, lagging behind a cluster of at least two dozen horses and riders winding into the distance. The horses range from ivory white to tawny brown and charcoal gray. The riders are loosely painted so some details are indistinct, but they all seem to have brown skin and dark hair. They wear feathered headdresses and garments in teal blue, fawn brown, or golden yellow. They ride over a low hill toward a crystal-blue river, and then back along a flat expanse toward a row of minuscule, triangular tepees lining the horizon in the deep distance. The horizon comes halfway up the composition, and the tepees are backed by a row of rose-pink, flat-topped cliffs. A pale yellow disk hangs low in the sky, over the distant cliffs. The sky above deepens from soft, lilac purple along the horizon to ice and sapphire blue along the top. A few wispy clouds are burnished orange in the sunlight. The artist signed and dated the painting in the lower right corner, “TYMoran 1881,” with the T, Y, and M overlapping to make a monogram.

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